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Vinyl: BOBBY TIMMONS "THIS HERE IS...' 1960 RIVERSIDE ~ 70s JAPANESE MILESTONE PRESSING
26.00 USD
24.99 USD
06 Jul 2023
29 Jun 2023
2 bids
3428
429
United States
Used
: MILESTONE SMJ-6050 (RIVERSIDE)
Jazz & Big Band
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BOBBY TIMMONS "THIS HERE IS...' 1960 RIVERSIDE ~ 70s JAPANESE 'MILESTONE' PRESSING
BOBBY TIMMONS
"THIS HERE IS... BOBBY TIMMONS"
( ジス・ヒア・イズ・ボビー・ティモンズ)
LABEL: MILESTONE SMJ-6050 SRS-6013 (RIVERSIDE)
'RIVERSIDE ORIGINAL RECORDING SERIES' REISSUE #13
EDITION: 1974 JAPANESE REISSUE
MANUFACTURED BY VICTOR MUSICAL INDUSTRIES
LABELS: SMJ-6050/ SRS-6013
RECORDED: JANUARY 13th/14th 1960 ~ REEVES SOUND STUDIOS NYC
LINER NOTES: ORRIN KEEPNEWS (ON SEPERATE SLIP SHEET INSERT)
MATRIX (SIDE A): STAMPED ): 〄Ⓑ RLP 12317AⓈ 113 +
MATRIX (SIDE B): ): Z RLP 12317BⓈ 121 +
CONDITION: VINYL: EX- to EX JACKET: VG+
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I've been going thru my massive vinyl record collection these past few weeks and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 40 years and it's time to pass some of them on to the next generation of collectors.
This week on EBay I am offering up this fantastic, clean 1974 Japanese pressing of Bobby Timmon's debut album as a leader "This Here Is..", originally released on Riverside in 1960.
This is my original copy, purchased back in the mid 70's, shortly after it's release, that I've taken great care of for many years. See details on Condition below.
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The fantastic trio of musicians on this recording includes:
Piano – Bobby Timmons
Bass – Sam Jones
Drums – Jimmy Cobb
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The tracks on this great album include:
This Here
Moanin'
Lush Life
The Party's Over
Prelude To A Kiss
Dat Dere
My Funny Valentine
Come Rain Or Come Shine
Joy Ride
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THE STORY BEHIND THIS CLASSIC ALBUM
Originally from the Philadelphia area, Timmons was passionate about music since his early childhood. He came from a religious family where his Father was a Pastor.
He played in churches before performing locally, adding elements of Gospel and Soul into his playing. His style had the spiritual punch of Gospel, the deep feel of Soul, and the groove and accessibility of emerging R&B.
After leaving the Philadelphia jazz scene, he moved to New York where the Jazz scene was flourishing. He ended up being hired in 1956 by Kenny Dorham and worked with Chet Baker. In 1957 he worked with Lee Morgan, Hank Mobley, and Sonny Stitt.
With all this experience, he was noticed by Art Blakey who offered him a spot in his band the Jazz Messengers. He became friends and roommates with Lee Morgan and they shared both their love of music, and heroin.
Timmon's big break came when he started to gain notice playing for perhaps the single greatest iteration of Art Blakey’s Messengers.
They recorded his signature tune, and album, "Moanin’" with the Jazz Messengers in 1958. Both the song and the record would become Jazz masterpieces.
By the fall of 1959 Timmons had become part of the Cannonball Adderley Quintet. With Canonball, he would write 2 more hits; "This Here" and "Date Dere" which were more soulful and less Hard Bob, like he was playing with Blakey. Timmons was partly responsible for the commercial success of both Art Blakey's Jazz Messengers and Cannonball Adderley's Quintet.
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In early 1960, Timmons left the Cannonball Adderley band and rejoined Art Blakey and the Messengers, but, at the encouragement of Riverside Records Producer, Orrin Keepnews, Timmons first decided to try his hand at a recording session as a leader.
By this time, Timmons was one of the leading exponents of the soulful, funky school of jazz piano and leading the way towards Soul Jazz that would become much more popular later in the sixties.
Timmons had an accessible, funky sound and was an imaginative, creative pianist with a richly varied repertoire.
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In January 1960, Timmons recorded his first solo album "This Here Is.." with bassist Sam Jones and drummer Jimmy Cobb.
Sam Jones was also working with Cannonball Adderley at the time and had recorded with Bill Evans and Red Garland. Jimmy Cobb was a fantastic drummer who had a long association with Miles Davis and also worked with Coltrane and Wynton Kelly. The result was a perfect little Jazz trio.
Timmons decided to perform his own versions of the hits he had written for others. Among the many highlights of this fantastic album are trio versions of his own 'soul jazz' classic compositions: “Moanin’”, “This Here”, and “Dat Dere”, as well as the killer upbeat "Joy Ride," a lighting fast number that shows off Timmons’ classic be-bop prowess, and five additional jazz standards, which Timmons handles in an upbeat, swinging way.
The result is this fantastic album that has relentless drive and swings from start to finish, even on the ballads like 'My Funny Valentine', which Timmons called 'My Funky Valentine'.
The tender 'Prelude To A Kiss' shows off the delicate side of Timmons’ playing and personality.
Ellington's "Lush Life" is performed solo by Timmons and is an amazing version of the classic song.
Throughout the album, Sam Jones’ deep sound and strong beat, combined with Jimmy Cobb’s uplifting style creates the perfect rhythm section behind Timmon's groovy soulful playing.
Overall, this is a swinging, gospel-tinged, joyful album and a perfect Jazz piano Trio album. From start to finish, this is a stellar album
This was Bobby Timmon's début album as a leader. He would go on to make many more, but none were as fresh, soulful and smooth as this first one. It contains all his hits and his best efforts. This was made in 1960, when the blending of jazz and soul was still fresh and on the very edge of musical innovation.
His later albums became a bit routine, predictable and stereotyped in the Soul-Jazz and Funk-Jazz genre, but at this early stage, he was at the peak of his creativity.
His many albums for the Prestige label, mostly lazy, soul-jazz clichés, are long out-of-print for good reason.
In his later career he became stereotyped as a funky soul-jazz pianist, but did manage to inspire others, like Les McCann and Ramsey Lewis, who went on to create fine bodies of work.
Timmon's career, and life, were severely derailed by addiction. He died tragically young, at age 36, from Cirrhosis of the liver, in 1974.
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This album is a 1974 Japanese re-issue pressing on the Riverside reissue label Milestone.
As collectors know, many Riverside sessions were either taped under less than ideal circumstances, or, to save on costs, on less than premium tape. Many of those original tapes have deteriorated significantly over the years and are unusable today.
This was mastered and cut in Japan, back in the early 70's, from the best quality tapes available at the time and sounds quite nice. That was the right time to reissue these classic Riverside albums, when the tapes were still fresh. Other than an original 1960 OG, this is probably as good as this record will ever sound. This is wonderful sounding album and fantastic piano jazz.
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CONDITION: I tried to show good hi-resolution photos of the cover, labels and vinyl in my pictures.
I purchased this copy back in the mid 70s, nearly 50 years ago, in Greenwich Village, on one of my regular digs in those days, and have taken great care of it since.
VINYL: The vinyl looks great. Clean and Bright.
The vinyl looks fantastic. I'll say conservative EX-, no scuffs or scrapes. maybe 1 or 2 light hairlines, but nothing palpable or significant. No significant scuffs, scrapes or issues. It looks fine. The Deadwax has all the 1974 Japanese pressing indicators as listed above.
I tried to show some close-up pictures of the vinyl to show how good it looks. I'm sure you'll be happy with it.
LABELS: This is pressed on the green Japanese Milestone/Riverside reissue labels used at the time. The labels are clean and bright. No marks or damage. The spindle holes are still relatively sharp and clean, suggesting minimal playing and my careful handling over the years.
JACKET: As you can see from my pictures, this is still very nice.
There's a little bit of shelf wear along the bottom seam and a few minor dings, but still quite nice. The biggest issue is the hype sticker placed right over the title on the front. That's how I purchased it nearly 50 years ago.
There is a barely legible date written on the back upper right corner. The white back cover otherwise looks great. The corners are sharp and crisp. Spine is straight, no seam issues. The 'white' spot on the front cover is a scrunched up 'Made in Jappan' sticker that I never removed.
Overall, I'll call it conservative VG+. This has been sleeved and stored properly for years, and is still quite nice. Clean and bright.
You can see from my pictures it's quite nice. Comes with the original Japanese language paper slipsheet insert. No OBI; I don't remember if this ever had one when I purchased it. Don't think so.
This copy is very nice and a real gem. I'm sure you'll love it.
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* NOTE: I'm selling this rare 'Collector' record "AS IS" and "NO RETURN". It's rare and as described and I'm sure you'll be very happy with it.
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I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Check out the many other fantastic 45s and 33s coming soon to my page!
All records have been carefully evaluated and graded by me. I visually inspect all records under bright light, personally gently clean them with a soft cloth and then, if unsure, play them on a modern high-end turntable to get a true picture of condition. Please look at all the high-resolution pictures I added. They are all my own and are of the actual record being sold. The pictures are part of the description and can show small details, label variations, and condition better than I can put into words.
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THANK YOU for looking and reading if you got this far. - JOHN